Boswell berry



2 Sheets-Sheet 2.

(Model.)

B. BERRY.

ACCORDION.

No. 274,705. Patented Ma.1*.27,1883.

ilVENTOR ATTORNEYS.

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UNITED STATES PATENT OFFICE.

BOSWELL BERRY, OF GOSFORTH,

NEWGA SlLE-ON-TYNE, ENGLAND.

ACCORDION.

SPECIFICATION forming part of Letters Patent No. 274,705, dated March 27, 1883.

Application filed August 18, 1882.

To all whom it may concern Be it known that I, BosWELL BERRY, a subject of the Queen of Great Britain, residing at 18 Hawthorn Road, Gosforth, Newcastleon-Tyne, England, have invented a new and useful Improvement in Ooncertinas; and I do hereby declare that the following is a full, clear, and exact description of the same.

The principle on which my invention proceeds is this: that any musical scale is so related to another whose key-note is three full tones distant from the key-note of the former that the first six natural notes of the former scale are identical with the live accidentals of the latter, together with the seventh natural note of the latter scale. I propose to apply this to concertinas and similar instruments, thus:

First. By a change of tuning I give the improved instrument command of two perfect chromatic scales -suoh as O and Gb-instead of the two imperfect scales 0 and G now in use. For this purpose I tune the reeds under one row of keys, thus: 0 D, E F, G A, G D, and so on, and the reeds under the other row, 0 D5, G] Al B}; B, 0 Dii and so on to any range of notes. Each pairof reeds is, as usual, in connection with one button or key, and the first of each pair sounds to the push and the second to the draw movement.

Second. By the use of a stop capable of being placed in six different positions I give the instrumentcommandofallthechromaticscales, so that the melody of any tune can be played in the key in which it is written, and that in all thescales the first, third,fifth, (asin the common instruments,) together with the sharp first, fourth, and sixth, shall be sounded by the push, and the second, fourth, sixth, and seventh, with the sharp second, and fifth shall be sounded by the draw movement.

FiguresI and II show in their relative positions in a top and sectional view the essential parts of theimprovedinstrumentas constructed with twelve keysto give the two treble octaves. One octave only is shown, the other being identical, except the difference of pitch. The unbroken lines and unaccented letters show the position of the parts when the stop is in proper position for playing, the broken linesv (Model) and accented letters the same when the stop is free to move into a new position. A is the key-board, with the keys as at a a a, Ste. B is the board on which the valves from the keylevers press. 0 is the reed-chest, rigidly fixed at a certain distance under B. D is the stop, fitting air-tight against reedchest 0 and projection E, and moved from the outside by stop-draws b and c. The cross, Fig. 1, marks the center of B.

Fig. III shows in top and end view the reedchest in its relation to B and projection E, the stop being removed. 0 p q r are sections through projection E, as marked.

Fig. 1V shows a front and end elevation of reed-chest. G G is the reed-plate, on which are fifteen reeds for each hand, rising by semitones from Bl; above the bass to O in the third space of the treble for the left hand, and from Bb on thethird line of the treble 00 on second leger-line above the treble for the right hand. These reeds are arranged at equal distances apart on the side toward K, with valves above, as usual. Along G G, H H, K K, and also along H G, G K, &c., a stuffing is placed. Pieces 1 l, fixed to reed-chest 0, keep it at a proper distance from hoard B.

Fig. V shows different views of the stop D, Figs. I, II. 1 is the plan of the top, with sections it s of the coverings over the openings in the reed-chest. 2 is a side and end view of the stop, the side view represented as looking in the direction of the arrow; and 3 is the internal longitudinal section through a o '10.

Fig. VI is a diagram view of the bass and treble faces of the concertina, showing the key-board and its notes.

The rod 1), Figs. I, II, moving freely along the wire d, draws the stop D hack free from contact with G and E, while the wire or rod 0, moving freely along 0, puts the stop in any one of the six positions marked 1-6, giving the scales corresponding to the number, as indicated on index F. The pinnfixes c and the pin m-fixes b, so that the stop shall press airtight against 0 and E.

For an instrument with more than twelve keys there must be a corresponding addition to the number of reeds and to the length of the stop, provision being made to allow of the 2 amass stop passing to its full distance under B. For sixteen keys (eight on each key-board) nineteen reeds would be needed in each reed-chest, and the stop would consist of three times w 2, Fig. V, with z a. For an instrument of the accordion shape the reeds would be three more than double the number of keys, with stop lengthened to correspond. Thus for twentyone keys there would be forty-five reeds from D below bass to B}; above treble staff, and the stop would consist of seven times y a, with y z.

The size of the parts may vary in different instruments, and so may the method ot'fixing and moving the stop.

I am aware of the English Patents No. 1,976 of 1862, No. 2,18 t of 1868, and United States Patent No. 11,062, granted June 13,1854, and I do not claim anything shown therein.

What I claim is 1. In a concertina or other similarly-keyed instrument, the combination of two rows or sets of keys, one set being connected with reeds which give the first six natural tones of the dia'tonic scale in each octave, and the other set connected with reeds which give the accidentals and the seventh natural note of the scale in each octave, the relative position of the keys of the two sets beingthesamethroughout the key-board, as described.

2. The combination of the board B, having key-levers and projections E, the reed-chest G, fixed to board B, and having wed ge-shaped side, and the adjustable stop D, having one side fitted to the wedge shaped side of reedchest and its top side fitted to the projection E, the said stop being provided with windpassages, arranged as described, to effect by its adjustment a transposition of the scales, as set forth.

BOSWELL B ERRY.

Witnesses:

CHARLES RoPER, OWEN DANIEL J owns, EVAN R. JONES, U. S. Consul, NewcastleowT ync, England. 

